In an era where cultural understanding has never been more crucial, educational institutions are increasingly turning to immersive experiences to bridge gaps and foster authentic connections. CC's Puente Del Mundo: The Musical Crossroads of Panamá block in Panamá exemplifies this approach, offering students a rich tapestry of musical traditions, cultural intersections, and personal growth opportunities that conventional classroom learning simply cannot replicate.
This program takes students on a journey through the nation's diverse soundscapes – from Panamanian jazz and salsa in the capital city to the Afro-Antillean rhythms of Caribbean beaches and the traditional típico music of the Azuero peninsula.
I interviewed Mariana Martin ’25, who had nothing but good reflections about the block. “I would say it superseded all expectations,” she says. “And it became much more of a cultural experience than a musical one.” Her encounter with local musicians and community members created precious moments of authentic connections that transcended stereotypical representations.
For Martin, one particularly profound experience came during a drumming circle in Portobelo, a town on Panama's Atlantic coast. “We learned the rhythms and stories behind them,” she shares, describing how the group participated in three different drumming styles under the guidance of local musicians, highlighting the community aspect of musical expression that's often lost in formal academic settings.
By engaging with diverse communities across Panama – from Indigenous Ngobe Buglé groups to descendants of African immigrants and Andalusian settlers – students gain a nuanced understanding that no textbook could provide. Importantly, Dr. Liliana Carrizo, CC Assistant Professor of Music who leads the program, made deliberate choices to enhance cultural immersion. Martin notes that students stayed in a neighborhood where the professor grew up, rather than in touristy areas, making it “easier for us to be immersed.” This decision reflects a commitment to authenticity that focuses on particular stories rather than attempting to represent entire cultures.
The program's emphasis on sonic and culinary tapestries created multiple avenues for cultural understanding. Martin recalls how, during a performance on Panama's Pacific coast, locals shared food with the visiting students – a gesture that symbolized the reciprocal nature of cultural exchange. “They were equally as excited to see us as we were to meet them,” she observes.
The most valuable takeaways from the program weren't listed in the syllabus. Martin advises future participants to embrace flexibility. “The hardest thing is to be inflexible... be open. Allow what comes to you to come to you.” She describes how even seemingly failed plans – like an unsuccessful attempt to visit an island – led to unexpected joys, like connecting with an Uber driver who shared local music. Additionally, as the sole native Spanish speaker in the group, Martin found that her language skills added “another layer” to the experience, facilitating “moments of connection” and cultural insights that were extremely valuable to her.
One distinctive feature of the program was its balance of structure and creative freedom. Students pursued individual projects based on their interests – from documenting the group's experience through photography to creating botany-oriented studies or producing original music inspired by Panama's traditions. And Martin emphasized how these projects reflected “how much care everyone had dedicated to their art… love and care and passion.” The Panamanian artists they encountered were “equally as excited to bring us into their world as we were entering it,” creating a mutual respect that transcended typical educational hierarchies.
For Martin, this authentic immersion rekindled her love for music-making. “I played instruments for a long time but had fallen out of love with playing and producing my own,” she explains. Experiencing Latin American music, particularly its emphasis on percussion, inspired her to return to music-making. “I went to the music store and rented out a trumpet. I never thought I'd pick it up again”. Another powerful moment occurred for her during the closing day of the Panama Jazz Festival. In an open field, Martin found herself captivated by how “everyone was feeling the music, in a way I hadn't experienced before.”
As educational institutions continue to develop study abroad programs, the Panama example offers valuable insights. By prioritizing authentic community engagement, embracing diverse cultural expressions, and encouraging creative exploration, such programs can avoid the pitfalls of superficial cultural tourism. It prepares students not just to appreciate diverse music traditions but to engage thoughtfully with cultural differences in an increasingly interconnected world. And, for students like Mariana Martin, the experience transformed not only her academic understanding but her personal relationship with music and culture. As she concludes, the program fosters “a deeper appreciation for music” and inspires a renewed connection to creating her own work.